[Movie 2005] A Bittersweet Life 달콤한 인생

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June 4, 2012
Look East Korean film fest: 'Poetry,' 'The Host' in 3-D top lineup
Ten films from South Korea, including 2010's acclaimed "Poetry" and 2009's Park Chan-wook vampire drama "Thirst," will screen as part of the inaugural Look East: Korean Film Festival, which will take place at Grauman's Chinese Theatre June 23-24, organizers announced Monday.
The lineup includes the 2005 film "A Bittersweet Life," starring Lee Byung-hun, who will appear in person for a Q&A and who will be among the first Korean performers in the history of the legendary Hollywood movie palace to have his handprints and footprints added to the theater's courtyard.
Also showing at the festival will be the 1958 drama "Flower in Hell" and the 1949 film "A Hometown in My Heart," both U.S. premieres; 2004's "3 Iron" from respected auteur Kim Ki-duk; "Poetry," from Korean writer-director Lee Chang-dong and starring the acclaimed actress Yun Jung-hee; and Todd McCarthy's 2007 documentary "Pierre Rissient: Man of Cinema." French filmmaker and champion of Korean cinema Rissient will be on hand for a Q&A.
A 3-D version of the 2006 horror film "The Host," directed by Bong Joon-ho, also will be included in the lineup.
For a complete list of films, information about tickets to screenings and other events related to the festival, go to www.LookEastFestival.com

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 Look East Film Festival
A Bittersweet Life Trailer (달콤한 인생)

Published on June 4, 2012 by LookEastFilmFestival
Kim Sun-woo (Lee Byung-Hun) manages a hotel owned by a cruel and calculating crime boss, Kang (Kim Yeong-cheol). When Kang suspects his young girlfriend Hee-soo (Shin Min-Ah) of having an affair, he orders Sun-woo to follow her and if true, kill her. Sun-woo does catch Hee-soo with another man but to his own surprise, he releases them. Now he must face the consequences of disobeying his unforgiving boss.

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June 8, 2012
LOOK EAST 2012 Film Festival
Movie ticket info and Afterglow Pass purchase (for event with Lee Byunghun on 6/23, etc) are now available at the officialwebsite

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An excerpt from LA Times today
June 21, 2012
The first annual “Look East Korean Film Festival” plays Grauman’s Chinese Theater on Saturday and Sunday. The program includes new and vintage Korean films, Q&As and hand and footprint castings of Korean actors Lee Byung-Hun and Ahn Sung-Ki. Filmmaker Pierre Rissient will also be honored at the two-day festival.  LookEastFestival

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The movie being screened at the Look East Film Festival today
June 18, 2012
A Bittersweet Life                                                         Credit: genkinahito.com
Kim Jee-Woon’s (The Quiet Family) filmography is packed with so many great titles made in such a short space of time it can only be explained by a Faustian pact or sheer brilliance and mastery of genre conventions. A Bittersweet Life is another masterpiece that plays with the conventions of the gangster film.
Sun-Woo (Byung-Hun) is a trusted enforcer who runs a restaurant/hotel for his boss Mr. Kang (Yeong-Cheol). The two are facing trouble from a new and sociopathic gangster named Baek (Jung-Min). Kang has other things on his mind such as his three day trip to Shanghai and the possibility that his young girlfriend Hee-Soo (Min-A) may be seeing a younger man. He sends Sun-Woo to watch over her. Sun-Woo is wary but goes ahead with the job. He was right to be wary because Hee-Soo and the world she inhabits charm Sun-Woo and open his eyes to the desolation of his life. This leads to his cool persona fragmenting under moments of weakness which will place him on the hit list of both his boss and Baek and leave Sun-Woo standing alone.
Life means nothing
Like the protagonists of neo-noir thrillers Drive and Le Samourai, Sun-Woo exists in a macho and nihilistic criminal underworld which demands a person subsumes their existence into their role/organisation and follow harsh rules. Similar to those films, when a girl enters the story the protagonist is forced to make a choice between adhering to those rules or being authentic to himself and breaking them to be with her. What A Bittersweet Life does brilliantly is to display Sun-Woo’s existential self-questioning of his place in the world.
Sun-Woo is just one ego among many in his gang. What separates him is the degree of rigid self-control and awareness he possesses. Through these attributes he has cultivated the social-mask of reliable enforcer which has made him indispensable to his boss who treats him as a confidant.
Sun-Woo’s effort in creating his social-mask is reflected in the film’s production design. His emptiness as an individual is revealed by his sterile and bare apartment while his desire to reflect what his boss wants is reflected in the hotel’s environment which Sun-woo inhabits with far more ease. It is a place where everything has a high gloss and lustre and misleading beauty. The colour scheme of deep black and red is menacing when you know the organisation behind the hotel. The cars are sleek black anonymous vehicles that are polished so that surfaces reflect everything from moving branches to the faces of people who are about to get slammed into the bodywork. It is intoxicating and Sun-Woo thrives in it but it is ultimately empty. Who makes him realise this? The girl.
Everybody has their own life
Hee-Soo is a genuine and sympathetic character who defiantly lives her own life and is true to herself. She inspires Sun-Woo’s growing infatuation which is displayed in simple scenes where a camera watches him gazing at her fine legs and features in a series of shots cutting between Sun-Woo’s eyes and Hee-Soo’s body. It’s not just a physical attraction as he laps up the refined culture she comes from as shown when he sees her play her cello with a band in a studio and he is transported to another world. But Sun-Woo is trapped in the criminal underworld and the film shows his separation from Hee-Soo and normality by shooting him through wire mesh and lattices. His boss will find out and violence will consume him.
Fights are a mixture of brutality and speed. Sun-Woo is a fan of using the environment to his advantage and seeing him fight is exciting and unpredictable. Hands get crushed, fingers blown off, and brains are used to repaint walls and people die gasping in pain, snot covered and dazed, bewildered as Sun-Woo proves that existence trumps his essence. The increasing sillyness and brutality shows the mental state of Sun-Woo and the nature of the film. Some of the filming techniques are excellent and at points we get over the shoulder camera view and corridor shots akin to Old Boy’s bravura fight.
Lee Byung-Hun as Sun-Woo is magnetic. He dresses in sharp suits and gives off a mysterious and engaging coolness. At times meditative and cautious, he has a deep well of rage that he can tap when he confronts rivals. His athleticism and dexterity is impressive as he handles fights. This is his movie but the other cast members give great support. Kim Yeong-Cheol, who plays Kang, conveys the toughness, quiet confidence, and ruthlessness of a veteran gangster. You can see how his mob, Sun-Woo included, might look up to him like a father. Hwang Jung-Min who plays Baek with his distinctive knife scar is like Pesci in Goodfellas, one second everything is fine but he is capable of losing himself in ugly violence the next. Shin Min-A is called upon to be beautiful and defiant and she does so nicely.
Then comes that ending which makes you want to re-watch the film and re-evaluate everything that has come before. It reminds you that you have been on a stylish existential romp and we all do that at some time but maybe not so violently. Overall this is an exciting and unpredictable film, highly stylish and highly original.
5/5

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July 4, 2012     Kim Ji-woon talks Arnold, Hollywood debut filmBy Lee Kyeong-min Korea JoongAng Daily
Director Kim Ji-woon makes his Hollywood debut with action film “Last Stand.” [JoongAng Ilbo]
LOS ANGELES - Film director Kim Ji-woon, 48, is often dubbed a “cinematic stylist” in the Korean film industry. With a filmography that spans a variety of genres, from the horror film “A Tale of Two Sisters” (2003) to noir film “A Bittersweet Life” (2005) to the Korean spaghetti western “The Good, the Bad, the Weird” (2008), Kim has shown the Korean public a versatility as an auteur and a talent for stylish cinematography. 
With his latest film, “Last Stand,” to come out early next year, Kim makes his foray into Hollywood. The action film, distributed by Lionsgate with a $50 million budget, has also grabbed headlines as the comeback film for actor and former governor of California Arnold Schwarzenegger. 
In “Last Stand,” Schwarzenegger plays Ray Owens, who leaves the Los Angeles Police Department after an unsavory operation and becomes a sheriff in a small border town in New Mexico. The film follows the action-packed chase between the police and a notorious drug baron and his gang, who try to cross the U.S. border. The JoongAng Ilbo met with Kim in Los Angeles during final production for the film.
Q. Can you describe what it’s like shooting your first Hollywood film?
A. Hollywood has wanted new blood to inject a fresh take on films for a while now. Making it to Hollywood was not necessarily my goal as a director, but somehow I got here doing something I like. But I don’t think of my role here as a representative of Korea. I just want to give the audience a chance to enjoy a film that speaks of a universal experience. 
The film feels almost like a western.
The plot revolves around ordinary people along the U.S.-Mexico border who risk their lives to fight off a strong enemy. It’s a character-based action film. I think that the film’s lighthearted spectacle can be enjoyed in the same way as “The Good, the Bad, the Weird.” 
“Last Stand” has already created a lot of buzz.
Maybe it’s because it’s an entertaining, commercial film. I like the fact that it’s a commercial action film that deals with ordinary, universal situations. 
Arnold Schwarzenegger, center right, poses with fellow cast members on the set of “Last Stand.”
How was it working with Schwarzenegger and the rest of the cast?
Schwarzenegger is always full of energy. He is a diligent and smart actor. Regardless of the nationality, I felt lucky to be working with good actors and being able to achieve an end result with them. I also realized that there is something that reaches beyond language in the art of cinema. 
Did you have any trouble communicating?
There are a lot of talented experts in Hollywood and they have a logical, scientific system. I don’t expect to have an emotional bond here like I do in Korea. In Korea, the filmmaking process is centered on the director, but not in Hollywood. You need to constantly request things and appeal to those you work with. I felt the need to form my own logic in how to persuade others. 
You must have been lonely in Hollywood.
I found I was just another foreign worker here. [Laughs] I don’t have a lot of friends here and all I did was work, so in a way, I felt empathy toward foreign workers. I felt myself getting stronger when I set the goal for myself not to give up and to endure this loneliness. I liked the fact that here I had more time to read books and think more. 
You must feel a mix of a sense of accomplishment as well as anxiety.
I feel the same way as when I debuted in Korea. Like then, it’s difficult and I feel nervous about my debut. Also, I feel pleasure in the fact that I was able to make a film with top actors in Hollywood, the center of the global film industry.
You’ve made noir, action, thriller and even horror films. What’s next?
When I finished shooting the crime thriller “I Saw the Devil” (2010), I spent a lot of time just thinking. After a lonely year in the U.S., I thought a lot about love. Maybe that’s why, but I think I’ve changed a lot. I now like beautiful melodramas rather than cruel ones.

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June 17, 2012
A Bittersweet Life: Life's Most Important LessonPosted by Haricharan Movie Roundup
Movie: A Bittersweet LifeDirector: Jee-Woon KimRating: ***
http://www.youtube.com/watch?feature=player_embedded&v=I9izJOD5Yi4
Korean films have come a long way, evolving faster than any other industry in the world with quality and unique films. Coming from a director known for his offbeat films with sincere inclination towards action, violence and revenge, ‘A Bittersweet Life’ by Jee-Woon Kim is a film about life’s lessons. A lesson that clarifies, in life, irrespective of who you are, good or bad, you’re sure have to moments that are sweet and bitter in nature. These moments when put together become ‘A Bittersweet Life’.
Kim Sun-Woo is an enforcer working for the most cold, ruthless, calculating crime boss in the city. This crime boss has bestowed all his trust upon Kim Sun-Woo and considers him a loyal disciple. One fine afternoon, Kim Sun-Woo is summoned by his boss and instructed over lunch that he’s to take on an assignment. An assignment that should be kept very secretive and the developments in it should directly reach the boss at regular intervals. The boss is romantically involved with a woman who’s younger than half his age. He loves her genuinely however feels she may be cheating on him. He appoints Kim Sun-Woo to investigate and tells him to finish her off if caught red handed. Unfortunately, at first sight, Kim Sun-Woo falls for the boss’s girlfriend and also uncovers that she’s been cheating. However, he doesn’t have the guts to pull the trigger on her therefore lets her go off the leash. When the boss discovers, Kim becomes the immediate target. With boss’s entourage on his trail, Kim should run for his life but should return sooner or later to give his piece of mind back to people who betrayed him.
Korean films love to glorify violence like no other industry in the world. This is the Kind of violence that’ll make you love violence. I mean it! The best part is Koreans love to fight with swords, knives, sickles, machetes, hammers but not guns. So, it’s gruesome to see them chopping each other in the name of revenge. I suppose their idea of carrying these instruments instead of guns is to inflict as much pain as possible. Think about it and you’d be surprised that instead of putting a bullet in someone’s head, take a knife or something and start slashing them and the sadistic pleasure you get out of it is priceless, according to these Koreans. It’s not just this film, take any recent Korean film and you have it – ‘Memories of a Murder’, ‘The Chaser’, ‘Oldboy’, all these films have glorified violence with the use of hands or instruments as discussed above.
Beside its extra violent connotation, ABL brilliantly teaches its audience a lesion that can be cherished for a lifetime. In life, there are moments that are good, bad and bitter; it’s the mixture of these moments which completes life and gives it a meaning. Kim’s life had its share of sweet and bitter moments however he chose to let go off the former and take control of the latter. The time spent with his boss’s daughter are his sweetest moments while the repercussion it left upon his life turned all the sweet in to bitter moments, eventually, only giving him grief to live with.
Performances were outstanding and there’s hardly anything to complain. Stunts deserve a special mention and the credit goes to Doo-Hong Jung for keeping stunts top class and highly professional. Original music by Dalparan and Yeong-Gyu Jang was good and I personally liked the score towards the end when the hero is struggling to breathe, he reminisces moments with the boss’s girlfriend.
In short, ‘A Bittersweet Life’ leaves you with one thought to ponder over. Life gives you good and bad but it’s your ability to choose wisely instead of dwelling on one.

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August 2, 2012
Not too sure if it was already aired on August 2 or going to be aired on August 3, a National Geographic (+ Movieweek Korea) feature on Director Kim Ji Woon.
This preview clip features the 3 top actors from GBW.. JWS, LBH (worked with Dir. Kim in BSL as well) and SKH who worked with the director twice prior in The Foul King and The Quiet Family.
Thanks to the highlight at PlanetBH0712 and Korean article on this (rough gist via Google translate only)
[Cable and satellite TV Highlights]Master Stylist Kim Ji Woon, Korea's Top Box Office Director 

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Thanks to ylin at LBH thread for the highlight
National Geographic Channel feat. Korea's Top Box Office Directors

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September 4, 2012
Lee Byung-hun and Park Chan-wook help ring in CGV Yeouidoby Ji Yong-jin KOBIZ
New multiplex celebrates its opening with "Talk Plus" events CGV Yeouido, which opened in the International Financial Center in Yeouido on the 30th of August, is set to become a new kind of culture-plex. It's the very first multiplex in Yeouidi, holding 1345 seats across nine screens, all equipped with SOUNDX, a 3-D sound system that follows the images on-screen. Lee Eun-seon, head of CGV's Diversity Team, said, "CGV Yoido is a culture-plex that is different from other theaters in that it seeks to be diverse in its programming, has a specialized sound system and a unique design scheme. Our aim is to make the theater a trendy cultural attraction that will become a landmark in Yeouido.  
The venue will hold a special event called "Talk Plus" to celebrate its opening, where audiences will be able to meet actor Lee Byung-hun and film director Park Chan-wook in person. On the 5th of September at 6:30pm in the Business Theater of CGV Yeouido, Lee will talk about his latest work, Masquerade, after the film's screening. Then on the 12th of September at 7pm, Park and film critic Lee Dong-jin will have a Q&A session following a screening of Thirst. From September 5-16, Park's I'm A Cyborg, But That's O.K, Old Boy, Sympathy For Lady Vengeance and Sympathy For Mr. Vengence will be screened, as will Lee's I Saw The Devil, G.I. Joe: The Rise of Cobra, The Good, The Bad, and The Weird, A Bittersweet Life and Joint Security Area /JSA. These will be appear as part of two special showcases highlighting the works of Park and Lee.

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Pierce Conran wrote a piece on this at Twitchfilm. Now it doesn't mention Denzel Washington or any specific lead for the role. Just have to wait and see.. sigh..
September 21, 2012
A BITTERSWEET LIFE to Be Remade, Albert Hughes Takes the ReignsPierce Conran TwitchFilm

One half of the directing duo behing Menace II Society, From Hell and The Book of Eli, Albert Hughes, is set to direct a fast-tracked remake of the seminal Korean gangster film A Bittersweet Life. Anthony Peckham, recently behind Invictus and Sherlock Holmes, has been brought in to polish the script. No word yet on cast or possible release date.
There's been a awful lot of news surrounding Korean films being remade in Hollywood or Korean directors making their mark in Tinseltown lately but this is one development I can't get excited about. I'm generally not a fan of foreign films being remade (much less Korean ones) so I'm not one of the people who is excited for Spike Lee's take on Oldboy. However, I do recognize the potential that such an original premise has in a new market. The same goes for the upcoming remake of Castaway on the Moon, one of the very best films made in the last decade. Last I heard, Mark Waters (of Mr. Popper's Penguins fame) was at the helm, and while I don't think that'll amount to much I do concede that it is property with a fantastic premise, ripe for the remake treatment.
However, as great as Kim Jee-woon's A Bittersweet Life is, and it really is, it's not based on the most original of conceits. Were you to take away its magnetic star (Lee Byung-hun), flamboyant (and very Korean) mise-en-scene, and its auteur director, I'm not sure that a whole lot would be left behind. At least not enough to warrant a remake. Perhaps I'm wrong about this and they have an angle that will set it apart from the original, but I have my doubts.

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September 23, 2012
'A Bittersweet Life' to be remade in Hollywood
by webe Allkpop.com

‘A Bittersweet Life‘ directed by Kim Ji Woon and starring Lee Byung Hun will be remade in Hollywood.
One half of the Hughes Brothers who made ‘From Hell‘ and ‘The Book of Eli,’ Alan Hughes, will be in charge of the remake according to deadline.com.  But it is still unknown who will star in the remake or the timetable for its production.
But back in 2009, there were rumors that Denzel Washington will play the lead role that Lee Byung Hun had in ‘A Bittersweet Life’, but those are the unconfirmed.
‘A Bittersweet Life’ is about a level-headed, intelligent perfectionist Sun Woo who opposes his boss Kang Sa Jang, who punishes those who break rule without reservation.
Source: OSEN via Nate News

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September 23, 2012

'Bittersweet Life' set for remake
Source: juliejackson@heraldcorp.com The Korea Herald

The Korean thriller, “Bittersweet Life,” which starred iconic actor Lee Byung-hun, is poised to be remade in Hollywood. Writer and director Kim Ji-woon’s 2005 crime thriller was about the turmoil involving family rivalries in the Korean mob.
Allen Hughes, producer of the popular Jack the Ripper horror film “From Hell,” which starred Hollywood actors Johnny Depp and Heather Graham, will be in charge of the film’s remake, according to an online news outlet. Huges also directed the post-apocalyptic tale, “The Book of Eli,” with Denzel Washington.
In 2009, there were rumors circulating that the legendary actor Washington was interested in starring in the lead role of this English remake; however, the cast members for this upcoming production have yet to be announced. 

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September 5, 2012
Nether Regions 09.05.12: A Bittersweet Life
Posted by Chad Webb 411mania.com
Before you decide whether or not you care about Arnold Schwarzenegger's next flick The Last Stand, do yourself a favor and get familiar with the director, Kim Jee-woon. If you have never seen one of his films, you're in for a real treat with this moving, bloody, and action-packed story of revenge.
Nether Regions started as a segment of the Big Screen Bulletin in the movie-zone that meant to showcase films that have been discontinued on DVD, are out of print in the United States, are only available in certain regions outside the United States, or are generally hard to find. Now it is a column all its own! You might ask, "Why should I care about a film I have no access to?" My goal is to keep these films relevant because some of them genuinely deserve to be recognized. Every time I review a new film I will have a list of those I covered below so you can see if they have been announced for DVD release, or are still out of print.

Starring: Lee Byung-hun, Kim Yeong-cheol, and Shin Min-aDirected By: Kim Jee-woonWritten By: Kim Jee-woonOriginal Release Date: April 1, 2005 (South Korea)Running Time: 118 minutesMissing Since: Never Officially Released in USExisting Formats: Various Import DVDsNetflix Status: Not AvailableAvailability:Moderately Rare
A Bittersweet Life is the fourth effort from South Korean director Kim Jee-woon. The Korean title "Dalkomhan Insaeng," not to mention the bar in the story (which is called "La Dolce Vita"), both translate as "The Sweet Life." The English title was changed to A Bittersweet Life, which is ironic, but I suppose you could say that about the original title too after you've seen the film. Planted firmly in comedy for his debut and sophomore project, Jee-woon then shifted to horror with a segment in Three Extremes II and A Tale of Two Sisters, both of which displayed his prowess. A Bittersweet Life was another change of pace, in this case exploring revenge, a sub-genre the South Koreans have mastered over the past decade or so. On paper this sounds average at best, but Kim Jee-woon is far from just a passable filmmaker. The end result is a controlled mixture of blistering fight choreography, unadulterated carnage, and a pace reminiscent of a reservedly thrilling crescendo.
The tale focuses on Kim Sun-woo (Lee Byung-hun), an enforcer for the mobster President Kang (Kim Yeong-cheol). As his most loyal associate, Kang assigns Sun-woo to look over his much younger mistress Hee-soo (Shin Min-a). He has been noticing that she spends time with another man and while Kang is away on business, he enlists Sun-woo to observe her daily routine and "take care of them" on his own if he notices anything. Hee-soo is not exactly enamored with having the cold Sun-woo escorting her around, but he does what he can to be mannerly and pleasant. While shadowing her, he does see that she is engaging in an affair. Sun-woo confronts and hurts the man before phoning Kang for confirmation. Right then he has a change of heart and decides to let them go if they promise not to breathe a word of the incident to anyone. Sure enough, Kang discovers Sun-woo's disobedience and proceeds to torture and beat him to a bloody pulp. Kang's goons fail to kill him however and Sun-woo swears vengeance everyone who wronged him. Toss in an arms dealer (Kim Hae-gon) Sun-woo must manipulate and President Baek (Hwang Jeong-min), a rival mob boss he ticked off, and it's safe to say that he put himself in a tight spot.
Admittedly, I am partial to revenge flicks, but A Bittersweet Life fires on all cylinders regardless of any bias I might bring to the table. And as much fondness as I have with premises such as this, the inspirations laced in these works are usually obvious. This is no different, though that does not mean it is weak by any stretch. Quite the contrary. In terms of violence, Tarantino-esque excess is apparent in two bravura sequences specifically. Throw in some bullet-flying, slow-motion panache ala John Woo and a shade of the ending from Martin Scorsese's Taxi Driver and you see how Kim Jee-woon draws upon some legendary craftsmen. Just when you think the man at the helm couldn't integrate more cinematic influence, there are the exciting martial arts scenes, splashes of comedy, and the sporadic markings of a film noir. The basic story outline is straight from classic Hollywood. All of these elements slapped together might strike the viewer as a confused mishmash, but Jee-woon's chief strength is his ability to mold all of that into a delectable whole.
Lee Byung-hun comes off like a morose James Bond, or perhaps a calmer version of Jason Bourne as Sun-woo. He is an impeccably groomed, good-looking, and stone-faced fellow who is calculated and debonair. Lee underplays this role, never hamming it up or wallowing in stereotypes. Even though the plot progression would be impossible without Sun-woo's misstep, it is not totally expected because the character legitimately takes his job seriously. Until that happens, his dedication is never in doubt. Shin Min-a does not have an abundance of scenes to shine, but she accomplishes the vital task of making the audience understand why Sun-woo would break routine. She conveys innocence despite landing in a relationship with a shady figure like Kang. Sun-woo has affection for her, but these feelings are not spelled out. That's why Kim Jee-woon's approach is so refreshing. There are no secret love-making sessions behind Kang's back. If Sun-woo possesses any desire whatsoever, this is exchanged from a glance or fleeting eye contact instead of sappy dialogue. The supporting turns are all fairly standard. Kim Yeong-cheol and Hwang Jeong-min are serviceable as the bosses, Kang and Baek, though the latter has more fun chewing the scenery with a wicked scar on his cheek. Kim Roi-ha stands out as Mun-suk with his long hair and carefree attitude. Initially, he gets scolded by Kang prior to the central events unfolding and then later he assumes the position of right-hand man during Sun-woo's descent.
The fight choreography is brilliant and engrossing, taking exaggerated mayhem and infusing it with moments that are more organic than you might imagine. The cinematography and art direction has improved with almost every Kim Jee-woon film. The finale is evidence of that, but so is Sun-woo's first beatdown at the hands of Kang earlier in the story. After having his richard simmons handed to him and then some, Kang questions him face to face with the rest of his group standing behind him in the rain, dressed all in black. Jee-woon and DP Kim Ji-yong ensure that locations are an important and recognizable factor. Among those elegant shots: Sun-woo being buried alive, using a narrow space to his advantage, striding down a brightly lit hallway with sharp turns, and meeting enemies in shadowy spots at paring garages. And wherever the action transpires, you can bet your bottom dollar that Sun-woo will make a heroes entrance. Le Samourai coolness is a key ingredient to A Bittersweet Life and the essence of Sun-woo.
Once you delve beneath the surface constraints of a vengeance mission, i.e. mob code versus personal morality, it is evident that A Bittersweet Life was constructed with a clever, astute mind and a steady hand. The plot is as old as time, but the emotionally withdrawn character driving the substance is alluring and contemplative. Supplementing that are the Buddhist parables which bookend the film, supplying a deeper layer. Helpful stamps from approximately a dozen masterpieces can be detected in Kim Jee-woon's offering, but he remembers to include his own signature as well. He takes chances with his placement for deliberate moments of silence, using a patient build and employing a sudden, mysterious ending. What could have been mindless and potentially shallow is a stirring piece that does not necessarily rely on shocking twists, but subtlety AND style cooperating as one. Every now and again someone will condemn a picture because "we've seen the plot before." A Bittersweet Life is yet another example of why it's not the familiarity of the story that matters, it in how those frequent traits are used.
Final Rating: 9.0/10.0

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November 1, 2012
Director Kim Ji-woon Wins Vision Award at 15th VisionFest in U.S.
Reporter : Lee Tae Ho Editor : Monica Suk KSTAR10
Director Kim Ji-woon talks about his movie "Heavenly Creature," one of the three segments from "Doomsday Book" (2012). [End Credit]
“A Tale of Two Sisters” auteur Kim Ji-woon has become the first-ever Asian filmmaker to receive an award at the VisionFest in the United States. 
Kim grabbed the Vision Award at the 15th VisionFest hosted by Filmmakers Alliance, at The Egyptian Theater in Hollywood, California on Tuesday, local time. 
The award is given to an eminent director whose artistic ambition and consistent filmmaking excellence inspire contemporary movie directors all around the world, organizers said on the website.
Kim kicked off his directing career in 1998 with “The Quiet Family” and has since wielded the megaphone of hit Korean movies including “A Bittersweet Life” (2005), “The Good, the Bad, the Weird” (2008) and “I Saw the Devil” (2010).
Meanwhile, the director finished his first English-language film with Arnold Schwarzenegger called “Last Stand” and is currently putting final touches on it, a PR rep of the movie’s local distributer CJ Entertainment said Thursday.

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November 2, 2012
American Filmmakers Go for Kim Jee-woon
First asian director to receive the Vision Award from the Filmmakers Alliance by Ji Yong-jin KOFIC

According to a representative of CJ Entertainment, KIM Jee-woon, who debuted in Hollywood with  The Last Stand is going to be the first Asian director to receive the Vision Award given by the Filmmakers Alliance, an American filmmakers’ association. Kim will awarded in the afternoon of October 30th (PDT) at the 15th VisionFest hosted by the Filmmakers Alliance in Los Angeles. The VisionFest is a festival for independent films where independent film related people and cineastes in Los Angeles get together to have screening events and commemorative events. There will have been 13 recipients of the Vision Award as of this year. Among all the filmmakers of the world, globally renowned directors including Wim Wenders, Werner Herzog, Alexander Payne have owned the award so far. KIM will be the first Asian director receiving it. Since he debuted with The Quiet Family in 1998, he has pursued his unique style in making A Tale Of Two Sisters (2003), A Bittersweet Life (2005), The Good, The Bad, And The Weird (2008) and I Saw The Devil (2010). The Last Stand is an action film that portrays the confrontation between a drug dealer who breaks out of law court and tries to cross the border and a country sheriff going after him. Expectations grow as Arnold Schwarzenegger is coming back to the screen from the political circle and the film will be released in January, 2013.

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One of the best Korean gangster movies out hands down.

I just found this song based on this movie!

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December 14, 2012
THN’s Korean Cinema Style Week 4: Kim Jee Woon – A Bittersweet Life
BY LUKE RYAN BALDOCK The Hollywood News

With Gangnam Style destroying the charts the world over, we will soon see a second wave of the Korean invasion taking place. Three of South Koreas most commercially successful and critically acclaimed directors have their English language debuts set for next year. Kim Jee Woon (THE LAST STAND), Park Chan Wook (STOKER), and Bong Joon Ho (SNOWPIERCER) have already proved themselves in their homeland, and here at THN we are taking a look back over their past efforts. Starting with the films of Kim Jee Woon, join us each week over the course of the next few months as we explore The Land Of The Morning Calm.
Director: Kim Jee Woon
Year:  2005
Cast: Lee Byung Hun, Kim Young Cheol, Shin Min Ah, Hwang Jung Min, Jin Goo,
Plot:  Sun Woo is an enforcer at a top hotel. He must also run errands for his gangland boss, one of which is to spy on his boss’ young lover. When Sun Woo listens to his heart and doesn’t follow orders, his world falls apart around him.
Yet another genre hop for Kim Jee Woon, sees the director applying his talents to the gangster genre. As you can imagine, A BITTERSWEET LIFE is often lost in the sea of Korean revenge dramas, but stands out due to the way Kim crafts each individual frame with the care of an artist truly enjoying his craft. There are also those snippets of unexpected humour that may seem absurd upon reflection, but create an aura of realism at the time.
The film starts with Sun Woo (Lee) enjoying a beautifully presented dessert in a fancy restaurant high above the filth on the streets. After a call comes in asking for Sun Woo’s assistance, we see him descend into the bowels of the underworld. At first he passes beautifully lit hallways, which at times seem almost alien in their cleanliness. By the time he reaches the lower levels of the hotel he has to be quick on his toes to avoid dripping water from landing on his impeccable suit. This excellently crafted scene sets the tone perfectly and is a huge indication to where our protagonist will most likely end up. He starts on high, but by the end of the film he will no doubt find it hard to avoid that drip.

His task is to simply remove some unwanted guests from the hotel. Being reluctant, the guests soon face Sun Woo’s wrath. Sun Woo shows himself to be ever so calm and methodical at this point. He politely requests that the intruders leave but they refuse. The tension rises when Sun Woo asks his aid to lock the door. It’s obvious at this point that we are in for something special. Sun Woo is an expert martial artist, but also knows when to allow his panache to give way to his brutal force. As quickly as the fight escalates, it’s soon over, and without breaking a sweat Sun Woo leaves and merely straightens his cuffs.
Sun Woo then attends a meeting with Kang (Kim), his boss, and a man he is frighteningly loyal to. Like many gangster films, A BITTERSWEET LIFE questions the boundaries of loyalty, and how far one can truly follow orders. Sun Woo is given the task of following Kang’s young mistress, and if he finds she is unfaithful, he is ordered to kill her. When Sun Woo first meets the young mistress, Hee Soo (Shin), we see his reaction before we see her. As he studies her, we see quick close-ups of her innocent nature as she pushes her wet hair back behind her ears. It’s obvious that Sun Woo is immediately enchanted by her. However, it isn’t just a simple case of falling in love, it’s more of a sudden realisation as to how perfect and pure the world can be. As Sun Woo follows Hee Soo, Kim recreates the classic film noir genre with brightly lit streets, and gentle music as Sun Woo lurks in the darkness.

We soon discover that the men exited from Kang’s hotel were in fact members of a rival gang. We meet Baek (Hwang), who is almost the antithesis of Sun Woo. His violence is a sudden explosion with no restraint. He brutally beats one of his own men, and it’s clear of the problems that will arise for Sun Woo. Sun Woo’s stubborn attitude makes any kind of reconciliation nothing but a dream, and this is one of the strengths of Kim’s gangster masterpiece. We see the character grow in so many respects, but are powerless to prevent his eventual fall. The moments he shares with Hee Soo reveal more and more of Sun Woo’s humanity. Especially telling is when he watches one of her music recitals. After she laughs inappropriately at one of her conductor’s comments he laugh causes Sun Woo to smile. A confrontation with Baek leaves Sun Woo frustrated which is when he discovers Hee Soo’s lover. Moved by their love and Hee Soo’s protection of her boyfriend, Sun Woo gives the couple an ultimatum. Never see each other again, and Kang won’t have to find out.
As Sun Woo drives into the night, he is accosted by some boy racers causing some mischief. It’s one of those moments we as the audience love. We know exactly how dangerous Sun Woo is, and that he is not in the mood to be playing silly buggers. It’s a case of the annoying characters getting their comeuppance, and us being able to wallow in the brilliance of it. It’s darkly humourous, but also reminds us of what a weapon Sun Woo can be. Later that night Sun Woo is approached by a messenger of Baek, and is told a simple sorry will make all his problems go away. It’s that one moment in a narrative that can be immensely conflicting for the viewer. We know that it’s in Sun Woo’s best interest to apologise, but we also want him to live up to the strong and ruthless persona he has presented us with up until now. Pride truly does come before the fall.

Sun Woo is soon kidnapped and tortured by Baek’s gang. Hung from a meathook, we see Sun Woo in a whole new light. His bravado abandons him as he vomits at the sight of a knife that will be used to gut him like a fish. It is also one of the points where Kim inserts some humour as an old Korean lady mops up the blood that drips from Sun Woo’s body. Luckily, or not so much, Sun Woo is handed over to Kang who has discovered his cover-up of Hee Soo’s affair. Beaten and bloodied, it’s hard to tell if Sun Woo is crying or if the rain is just forcing the drops of blood to roll down his cheek. Kim gives us some beautifully dark shots at this point, such as Sun Woo surrounded by men with black umbrellas. Knelt down in the mud, he is incredibly vulnerable. We see exactly how strong Sun Woo is as he is buried alive and manages to dig his way out, only to be subjected to more punishment. Kim isn’t afraid to show us our protagonist at his lowest though, as Sun Woo screams in fear, it’s something you wouldn’t see in a lot of similar films, as it runs the risk of losing respect for the lead character. I find it has the complete opposite effect, and makes him more human and relatable.
Sun Woo does escape captivity in a blistering display of violence and fantastic choreography. Despite being beaten down, we have no doubt that this character could escape. It’s summed up perfectly when we see Kang, so shocked at the news, crush a glass in his hand. It seems to shout that Sun Woo can cause his enemies to bleed without even being near them. From there Sun Woo launches on his quest for vengeance. Shown as tough, but vulnerable, we’re now behind him more than ever. He decides to stock up on weaponry in a superbly tense and funny scene, where the arms supplier discovers Sun Woo’s true identity, but the pair must assemble their guns before shooting. Just a little touch such as that shows how Kim can take your average scene and give it a whole new spin. The violence ascends to new heights and the brutality is always entertaining but also very powerful. The final shoot-out is something of pure cinematic art. Kim dispenses with the rulebook, as it is both a stunning display of choreography and also quite messy. Villains don’t die in the order you would expect, and you can see these characters fighting for their lives. You could give anyone of these gangsters a backstory, and none of them come off as simple cannon fodder.

A BITTERSWEET LIFE continues Kim on his path to perfection. His ability to conform and transcend the genre he is exploring is one of the reasons his films are so popular. By following the rules to a certain degree he creates familiarity and accessibility, but he also gives us something new. But it isn’t merely Kim’s show. Lee gives a striking performance as Sun Woo. There is something classical and silent in his portrayal, where his face always reveals his true feelings. It happens gradually as we see a determined and stoic man broken down, before building himself up yet again. Here is a revenge drama where we root for the ‘hero’ but see how he continuously lets his pride get in the way. It’s also a distant love story, as we are constantly aware of the profound affect Hee Soo has had on Sun Woo, even though her involvement is very limited in the latter half of the film. As Sun Woo faces Kang in front of a sign that read ‘La Dolce Vita’ (The Good Life), it’s clear to see how a life of crime is anything but, and a laugh that can make you smile is something worth fighting for.
What To Take To THE LAST STAND? The action is what Kim needs to bring forward for his first Hollywood effort. The brutal violence, matched with recognisable characters will create something that Schwarzenegger’s films often lack. I’m not expecting the serious or dramatic tone, but let’s have some of the wicked humour that punctuates the action please.
THE LAST STAND is released on 18th January 2013 in the US and 25th January 2013 in the UK. It stars Arnold Schwarzenegger, Johnny Knoxville, Rodrigo Santoro, Jaimie Alexander, Forest Whitaker, Peter Stormare, Luis Guzman, and Genesis Rodriguez.

[rubie]

Remember this from awhile ago .

July 11, 2012 Fan-Poll: The Best Movie Performance by Lee Byung Hunhttp://everythinglbh.com/entry_view.php?id=2526
 A BITTERSWEET LIFE for the sweetest win

[Gasenadi]

Probably old news to you, but new to ME!  "Lee Byung-hun,  ... will be among the first Korean performers in the history of the legendary Hollywood movie palace to have his handprints and footprints added to the theater's courtyard."

Congratulations?!